Kumyks (, ) are a Turkic people, living in Dagestan, Chechnya and North Ossetia. They are the largest Turkic people in the North Caucasus.

They traditionally populate the Kumyk plateau (northern Dagestan and north-eastern Chechnya), lands bordering the Caspian Sea, areas in North Ossetia, Chechnya and along the banks of the Terek river. They speak the Kumyk language, which until the 1930s had been the lingua-franca of the Northern Caucasus.

Territories where Kumyks have traditionally lived, and where their historical state entities used to exist, are called Kumykia (). All of the lands populated by Kumyks were once part of the independent Tarki Shamkhalate.

Population and present settlement area
Kumyks comprise 14% of the population of the Republic of Dagestan, the third-largest population of Chechnya, and the fifth-largest population of North Ossetia, all of which are parts of the Russian Federation.

Kumyks are the second largest Turkic-speaking ethnic group after Azerbaijanis in the Causasus, the largest Turkic people of the North Caucasus and the third largest ethnic group of Dagestan.

According to the Russian national census of 2010 there were more than 500,000 Kumyks in Russia.

Russian Federation
In terms of administrative division in their native lands, Kumyks today are mostly divided between a few administrative regions of Russia, such as Republic of Dagestan, Republic of North-Ossetia, Chechen Republic.

Turkey and the Middle East
In the 19th century, during and following the Caucasian War, numbers of Kumyks were subject to or willingly resettled (made hijra) to the Ottoman Empire as a result of Russian deportation campaigns in the region.

In the 1910s-1920s, during the Bolshevik Revolution, another emigration wave to Turkey took place. Among the muhajirs (migrants) of that period were many prominent Kumyk nobility.

Kumyks also used to move to Syria and Jordan, where a few Kumyk families still live. The Syrian village of Dar-Ful was established in 1878-1880 by Kumyk emigrants.

There is no official state census of ethnic minorities in Turkey (ethnic or racial censuses are outlawed), but according to the studies of 1994–1996, there were more than 20 settlements with Kumyk population.

Ethnonym
The majority of researchers (Bakikhanov, S.A. Tokarev, A.I. Tamay, S. Sh. Gadzhieva) derive the name "Kumyk" from a Turkic ethnonym Kimak, or from another name for Kipchaks — Cuman.

According to P. Uslar, in the 19th century the names "Kumyk" and "Kumuk" pertained to the Turkic speaking population of the Northern Caucasian lowlands. In Dagestan, Chechnya and Ingushetia, the name Kumyk, or originally Kumuk pertained to the Kumyks only. Y. Fyodorov wrote, based on sources from the 8–19 cc., that "Gumik — Kumyk — Kumuk" is originally a Dagestani toponym from the Middle Ages.

In various Russian, European, Ottoman and Persian sources Kumyks were also called Dagestan Tatars (or Dagestan Turks), Circassian and Caucasus Tatars.

Origin
There is no universal opinion regarding the origin of the Kumyks. Some scholars propose that the population of the Kumyk plains of the 8th-10th centuries were directly ancestral to modern Kumyks. A view close to that is that the Kumyks appeared in Dagestan along with the Khazars in the 8th century and stayed afterwards. Whereas others believe that the Kumyks appeared in Dagestan in the 12th-13th centuries along with Kipchaks.

Kumyk verbal tradition carried through ages some proverbs and sayings coming from the times of the Khazar Kaghanate.

S. Tokarev wrote that:

A modern interpretation was proposed that "from the Turkified Lezgins, Kumyks also emerged".

However, professor of Caucasus studies L. Lavrov doubted  the "Turkification" hypothesis of Kumyk origin:
 Another prominent Russian Orientalist, V. Minorsky, proposed his adjustment to the views mentioned, stating that:

The final stages of the Kumyk ethnogenesis stretched from the 12th-17th centuries.

Some of the Turkic peoples who assimilated into the Kumyk nation were those of Tumens from the Tumen Khanate (Caucasian Tumen), which emerged in the 15th century as a fragment of the dissolved Golden Horde; those of Bothe Bogans, Sople and pre-Cuman Turks, who populated the Botheragan-Madjar region in the 7th century, which encompassed the vast North Caucasian plains.

History

Kumyks historically were related to the states of the Caucasian Huns, Cuman-Kipchaks, and the Golden Horde.

The beginning of the Kumyk nation is often considered to be in the Khazar Kaganate era.

Until the 19th century, the Kumyks were a largely feudal, decentralized entity of strategical geographic and political importance for Russia, Persia and the Ottomans, headed by a leader called the Shamkhal (originally Shawkhal, in Russian sources Shevkal).  The Kumyk polity known as the Shamkhalate of Tarki was mentioned as early as the 14th century by Timurid historians.

Other Kumyk states included the Endirey Principality, Utamish Sultanate, Tumen Possession, Braguny Principality, Mekhtuly Khanate, Kaytag Uzminate and others.

Expansion of the Russian state, Ottoman Empire and Persia
In the 16th century, Kumyk rulers tried to balance their relationships with their three neighbouring states, and as a result the Shamkhalate established itself as a considerable regional power. The two Empires and yet-to-be one Russian state considered the Caspian area as their influence domain.

Shamkhal Chopan became a subject of the Ottoman Empire in the late 16th century, and participated in the 1578-1590 Ottoman-Persian war.

The 1560s marked the start of the numerous campaigns of the Russian army against Kumyks, provoked by the requests of the Georgians and Kabardians. Commander Cheremisinov seized and plundered the capital of Tarki in 1560.  The Tumen khanate, allied with the Shamkhalate also resisted the invasion, but in 1588 was conquered by Russia.  The Russians established the Terki stronghold (Not to be mistaken for Tarki) in its former capital.  Tumen ruler Soltaney fled to the protection of  Sultan-Mahmud of Endirey, recognized today as a pan-Caucasian hero. In 1594, the other Campaign of Khvorostinin in Dagestan was organised, during which Russian forces and Terek Cossacks seized Tarki again, but were blocked by the Kumyk forces and forced to retreat to Terki, which resulted in a stampede.

In 1604–1605, Ivan Buturlin conducted one more campaign against the Kyumks, often known as the Shevkal Campaign. This also failed and resulted in a significant loss for Russia at the Battle of Karaman. The united forces of the Dagestani
peoples under the banners of the Kumyk Shamkhalian, Prince Soltan-Mahmud of Endirey prevailed, and according to the prominent Russian historian Karamzin, stopped Russian expansion for the next 118 years until the rule of Peter I.

In 1649 and 1650 Nogai leader Choban-murza sought the protection of their allies in the Shamkhalate. Russia, at war with the Nogais, sent 8,000 men in order to force the nomadic tribe to return to Russian territory.  Surkhay-Shawkhal III attacked and routed Russian troops at the Battle of Germenchik. Kumyk military success continued from 1651 to 1653, when the Kumyks, this time in an alliance with Safavid forces, destroyed the Russian fortress at the river Sunzha. Iranian Shah Abbas II intended to strengthen the Persian hold on the Kumyk lands, which didn't match with Surkhay's plans. In an alliance with Kaytag Uzmi Rustem, Surkhay III confronted Persians but was forced to withdraw. Nevertheless, the high losses disrupted the Shah's intentions of building fortresses in the Kumyk lands.

Resistance to Peter I
In the 18th century, Russian Emperor Peter I organised the Persian Campaign of the 1722—1723.  The Endirey principality was the first to oppose the Russian forces, and despite their defeat, caused great losses which shocked the Emperor. Kumyks of the Utamish Soltanate also fiercely resisted during the Battle at the River Inchge. Peter I stated afterwards:

The Tarki Shamkhalate initially took a pro-Russian stance, but after a new Russian fortress had been built they confronted Russia again. However, this time the Shamkhalate couldn't unite the neighboring local peoples and remained alone in their struggle. Russian historian Sergey Solovyov wrote:

Caucasian War

Russian 19th century general , known for his important actions in subjugating the Adyghe and Abaza ethnic groups at the left flank of the Caucasian front in Circassia, wrote:
Kumyks were one of the major forces in the late 18th century Sheikh Mansur's insurgence. Kumyk prince Chepalow, in alliance with Mansur made several attempts to attack the Russian stronghold of Kizlyar. In the final battle, Mansur led the Kumyk forces himself. Despite the formal acceptance of the Russian sovereignty over the Shamkhals at the beginning of the Caucasian war (resulting from the Treaty of Gulistan), there were numerous revolts in Kumykia. In 1825 the village of [Old] Aksay was destroyed and 300 men from the settlement were gathered for their participation in the insurgence against Russian Empire led by the Chechen leader Taymiyev Biybolat, and murdered when Ochar-Haji, one of the Kumyks, killed two Russian generals on the spot. In the same year the people of Endirey joined forces with mountain communities against the Russians.
In total, there were at least five revolts in Shamkhalate and on the Kumyk plateau (called also Kumyk plains):  the Anti-Russian revolt, resulting in the defeat of Northern Kumyks (Endirey and Aksay principalities) and the then-disestablished Mekhtula Khanate, the Shamkhalate Revolt of 1823, participation in Beybulat Taymiyev's revolt (who though recently had pledged allegiance to Russia), the Shamkhalate Revolt of 1831, the revolt at the Kumyk plains in 1831 and the Shamkhalate Revolt of 1843.

There were also preparations for an insurgency on the Kumyk plains in 1844 and for a general Kumyk insurgency in 1855, which had been planned as a joined action with the advance of Imam Shamil, but the advance didn't progress enough into the Kumyk lands. In the insurgency in Dagestan in 1877–1878, one of the major centres of conflict was the Kumyk village of Bashly.

Despite the devastation brought by the Imperial Army for their attempts to rise against Russia, the Kumyk plains were also exposed to plundering forays from the neighboring tribes. For instance, in 1830, one Chechen leader, Avko, gathered forces in a call to allegedly join the troops of the leader of the Caucasian resistance, Gazi-Muhammad, but at the last moment declared the true reason "to use the opportunity to attack the city of Endirey and plunder Kumyks' cattle".  However, the troops disbanded in disappointment. Gazi-Muhammad himself tried to make Kumyks resettle higher in the mountains from the plains and join his resistance by destroying Kumyk settlements, as stated in the Russian military archives:

During the Caucasian War, Kumyks found themselves between a rock and a hard place, not always supported by the insurgents on one hand, and being a target of retaliation from Russians on the other.  The same archives also described that:

Kumyks during the War gave the Caucasus many common heroes. Imam of Dagestan and Chechnya Shamil was of Kumyk descent, as well as his companion and the second pretender to the Imam's position Tashaw-Hadji. Also, Kumyks were the leaders of the earlier Dagestani revolts, such as Soltan Ahmed-Khan of the Avars, and Umalat-bek of Boynak (the heir of the Tarki throne), companion of the imam Gazi-Muhammad Razibek of Kazanish, trusted companion of the Imam Shamil — Idris of Endirey.

Colonization by Russia
The tsarist and Soviet government pursued a policy of settling the Kumyk lands with other peoples from the end of the 18th and the beginning of the 19th century.

Back in 1811 Tormasov is known to order "to incline the Chechens to retire from the mountains to the plane." Another governor of the Caucasus, Vorontsov, pursued the same policy of "colonizing" the possessions of the Kumyks, also by Chechens, arguing that "the Kumyks have no right to those lands." Kumyk possessions also included such areas as Kachkalyk and Aukh, gradually settled by Chechens, and the region of Salatavia.

In the late 1870s, the entire southern part of the Khasavyurt district, from Gerzel-aul to Endirey, was populated by Chechens, sometimes by force, by the decree of Russia. From 1870 to 1877, the number of Chechens in the region increased from 5,912 Aukh to 14,000 Chechens and continued to rise to 18,128 in 1897. The possessions of the Kumyks in the Terek-Sunzha interfluve were lost, some of them along with the Kumyk population are now part of Chechnya.

In the 1850s, the Kumyk princes of the Kumyk district of the Terek region voluntarily gave up half of their lands in favor of the Kumyk people, however, documents confirming the relevant rights were issued only to the princes and uzdens, and the rights of the rest of the population were not documented. Local authorities, using various pretexts, moved newcomers to Kumyk lands. This policy of neglecting the right of the Kumyk population was recorded as continuing in 1907.

Dissolution of Shamkhalate and the Kumyk okrug (district)
When the Caucasian War ended on the 30th of December 1869, the Kumyk district of the Terek oblast (Northern Kumykia) was dissolved and renamed as Khasavyurt okrug.

According to The Brockhaus and Efron Encyclopedic Dictionary, issued at the turn of the 19 - 20th centuries, there were 32,087 thousand Kumyks in Dagestan (which at that time did not comprised the Northern Kumykia).  According to an 1891 survey, 108,800 Kumyks lived in the Dagestan and Terek oblasts of the Russian Empire.

Somewhat earlier, in 1867 the Tarki Shamkhalate was abolished by the Russian authorities, which might be considered as the end of the Kumyk statehood.

1916 revolt, Russian Revolution, Soviet and Modern times

In mid-July 1916 (late July 1916 ), Kumyk rebels rose up against Russian authorities in Aksay. The cause of the uprising laid in the Kumyk's unwillingness to be conscripted into the Russian Imperial Army. The uprising ended on 24 July (6 August ), when the draft was cancelled.

During the establishment of the Soviet Union, Kumyk political elite were an active part in the creation of the Mountainous Republic of the Northern Caucasus. Haydar Bammate was the Minister of Foreign Affairs and one of the ideologists of the state, Prince Rashitkhan Kaplan was the Minister of Internal Affairs, one of the major military leaders was prince Nuh-bek Tarkovskiy, and Zubair Temirhanov was the speaker of the Alliance Council ("Mejlis" - Senate) of the Republic.

In 1926 the Soviet Population Census stated that there were 94 549 Kumyks in the Russian empire, indicating demographic crisis, compared to the 1891 data.

Demographics
In 1795 Russian Empire's estimates give a number of 100 thousand people in the lands of Shamkhal (including other than Kumyks).

In 1833 rough estimations showed around 88 thousand Kumyks within the areas of influence of the Russian Empire. In 1866, after the end of the Caucasian War, some estimations showed around 78 thousand. In 1886, 1891 and 1897 accordingly — 88, 108, 83 thousand, in 1916 — 98 thousand.

The Soviet census of 1926 showed 88 thousand. Thus, there are no indications of any growth almost in a century, due to wars, emigration from Russian-conquered territories and disease.

Due to the continuous resettlement policies by the Russian Empire, then the Soviet government, and continuing today in the modern Republic of Dagestan of the Russian Federation, during the 19th through 21st century the native territories of Kumyks have been dramatically reduced; Kumyks became a minority in their own lands.

Ethnocide by Soviet Union

Deportation
By the decree of Stalin's government, on the 12 of April 1944 the Kumyk population of historical Kumyk capital Tarki and adjacent villages were entirely deported to the Central Asian SSRs (Chechens, Karachays, Balkars and Crimean Tatars also were deported). The reason was stated as "freeing the area for the agricultural needs" of mountain peoples being resettled in the region. The deportation, despite the historical record in Russian law, is still not acknowledged by the Russian government. As a result of this event, the local population lost for years their ancient capital of Tarki, which led to the permanent destruction of the most of the Kumyk cultural heritage.

Reasoning for Ethnocide
As UNPO describes the membership of Kumyks as follows:

In 1925 Russian scholar Nikolay Trubetskoy expressed opinions, which may explain the given policy of Russia with regard to Kumyks:Kumyk is the "international" language of almost the entire North Caucasus (from the Caspian Sea to Kabarda inclusive), Azerbaijani dominates in most of the Transcaucasia (except the Black Sea coast) and, in addition, in Turkish Armenia, Kurdistan and Northern Persia. Both of these languages are Turkic. It must be held in mind that with the intensification of economic life, the use of "international" languages acquires such importance that it displaces native languages: many auls of the southern districts of Dagestan have already become completely "Azerbaijanified". It is hardly in Russia's interests to allow such a Turkification of Dagestan. After all, if the whole of Dagestan becomes Turkic, then there will be a continuous mass of Turks from Kazan to Anatolia and Northern Persia, which will create the most favorable conditions for the development of Pan-Turan ideas with a separatist, Russophobic bias. Dagestan should be used as a natural barrier to the Turkification of this part of Eurasia.Communist leader of Dagestan, who conducted the deportation of Kumyks, reasoned non-ethnical administrative bordering of Dagestan in this way:"Firstly, it [meaning splitting Dagestan by non-ethnic principle] was necessary to do this for economic reasons. If it were decided to grant national autonomy to at least the main peoples of Dagestan (Avars, Dargins, Kumyks, Lezgins, Laks, Tabasarans), then the main wealth of Dagestan (arable land, pastures) would go to the Kumyks, because they were located on their territory... Secondly, political and ethnic considerations were taken into account. So, the Avars in the entire history of their existence did not have a unified state entity... "

Language
Kumyks speak the Kumyk language, which is a part of the Kipchak-Cuman subfamily of the Kipchak family of the Turkic languages. It is a direct descendant of the Khazar languages and in addition contains words from the Bulghar and Oghuz substratum.

Nikolay Baskakov, based on a famous 12th century scripture named Codex Cimanicus, included modern Kumyk, Karachai-Balkar, Crimean Tatar, Karaim, and the language of Mamluk Kipchaks in the Cuman-Kipchak languages. Alexander Samoylovich also considered Cuman-Kipchak close to Kumyk and Karachai-Balkar.

Kumyk had been a lingua-franca of a great part of the Northern Caucasus, from Dagestan to Kabarda, until the 1930s.

In 1848, a professor of the "Caucasian Tatars" (Kumyks) Timofey Makarov published a grammar of Kumyk, the first ever grammar written in Russian for a language spoken in the North Caucasus.

Kumyk was an official language of communication between North-Eastern Caucasian nations and Russian administration.

Amongst the dialects of the Kumyk there are Kaitag, Terek (Güçük-yurt and Braguny), Buynaksk (Temir-Khan-Shura) and Xasavyurt. The latter two became basis for the literary language.

Kumyk is the oldest script literary language of Dagestan. During the 20th century, the writing system of the language was changed twice: during Soviet times in 1929 traditional Arabic script (called ajam) was substituted by the Latin script, and then in 1938 by Cyrillic script.

The closest languages to Kumyk are the Karachai-Balkar, Crimean Tatar, and Karaim languages.

More than 90% of Kumyks in Russia, according to the 2010 census, also speak Russian, and those in Turkey and the Levant (Sham) speak Turkish and Arabic.

In Russian and European classical literature
German poet Paul Fleming, travelling together with the Holstein embassy through Kumyk lands in 1633 and 1636, had dedicated to Kumykia and its towns a few verses.

The Kumyk language was a subject of studies for Russian classical authors such as Leo Tolstoy and Mikhail Lermontov, both of whom served with the Imperial Russian Army in the Caucasus. The language is present in such works of Tolstoy as "The Raid", Cossacks, Hadji Murat, and Lermontov's "A Hero of Our Time".

Tolstoy described Kumyk village of Khamamatyurt in his "Hunting in the Caucasus".

Alexander Bestuzhev-Marlinsky also featured the Kumyk language and Kumykia in his works "Molla-nur" and "Ammalat-bek", and described in some details Russian military raids on Kumyk settlements in his "Letters from Dagestan".

Alexander Dumas also described some areas of Kumykia and the time when he was a guest of a Kumyk prince Ali Qazanalp.

See also
 Russian-Kumyk Wars
 List of Kumyk people

References

Further reading

External links
Kumyk information portal kumukia.com
Kumyk dictionaries, study materials and online library
Kumyk newspaper Yoldaş

Ethnic groups in Dagestan
Turkic peoples of Europe
Muslim communities of Russia
Members of the Unrepresented Nations and Peoples Organization
Peoples of the Caucasus
Muslim communities of the Caucasus

Kumyks


Lale Yurdatapan Mansur (d. 1956, İstanbul), Türk balerin, sinema ve tiyatro oyuncusu.

1976 yılından itibaren İstanbul Devlet Opera ve Balesi'nde baş balerin olarak görev yaptı. Kuğu Gölü'nden Don Kişot'a kadar birçok eserde dans etti. 1992 yılında oyunculuğa başladı. İlk uzun metrajlı filmi Düş Gezginleri'ndeki rolü ile Altın Portakal En İyi Kadın Oyuncu Ödülü'ne değer görüldü.

Yaşamı
1956 yılında İstanbul'un Erenköy semtinde doğdu. Babası emekli korgeneral Danyal Yurdatapan, annesi Suzan Hanım'dır. Dört çocuklu ailenin en küçük çocuğu ve tek kız evladıdır. Ağabeyleri Şanar, Onur ve Oktay Yurdatapan'dır.

Sekiz yaşında iken İstanbul Devlet Konservatuvarı Bale Bölümünde bale eğitimine başladı. Lise eğitimine devam ederken yarı zamanlı olarak konservatuvarda okudu. Öğrencilik yıllarında İstanbul Devlet Opera ve Balesi'nde sahne deneyimi kazandı. 1976 yılında konservatuvardan mezun olduktan sonra İstanbul Devlet Opera ve Balesi'nde baş balerin olarak görev yaptı. 'Carmen', 'Hürrem Sultan', 'Giselle', 'Kuğu Gölü', 'Şehrazat' ve 'Mavi Tuna' gibi birçok eserde rol aldı. 1980 ve 1984 yılında yaz ayları süresince İngiltere'de Kraliyet Balesi ile çalışmalarda bulundu. 1980 yılında, Türkiye'yi sözlerini ağabeyi Şanar Yurdatapan'ın yazdığı ve  Ajda Pekkan'ın seslendirdiği  Pet'r Oil şarkısının  temsil ettiği  Eurovision Şarkı Yarışması'nda vokal yapıp dans etti. 1988'de Yavuz Özkan'ın "Umut Yarına Kaldı"  adlı filminde bir dansçıyı canlandırdı.

İlk evliliğini 1975 yılında müzisyen Attila Özdemiroğlu ile, ikinci evliliğini 1984 yılında orkestra şefi Cem Mansur ile yaptı. Eşi Cem Mansur'un Oxford Şehir Orkestrası şefi olup İngiltere'ye taşınması gerekince dansı bırakıp kendini yeni bir iş alanında yetiştirmeye karar verdi. Oyuncu olmak için İstanbul'da diksiyon eğitimi aldı; Los Angeles'ta oyuncu koçu Eric Morris ile oyunculuk çalıştı (1991).

Oyunculuğa 1992 yılında BBC televizyonu tarafından çekilen ve yazar Yaşar Kemal'in yaşamını konu alan, yönetmenliğini James Runcie'nin üstlendiği 'Childhood' belgeseliyle başladı. Aynı yıl, ilk uzun metrajlı filmini çekti. Atıf Yılmaz'ın yönettiği 'Düş Gezginleri' adlı bu filmde genelev çalışanı Anjelik rolünü canlandırdı ve Antalya Film Festivali'nde 'En İyi Kadın Oyuncu' dalında Altın Portakal kazandı.

İlk filminin ardından Ersin Pertan'ın yönettiği ve bir Orhan Kemal uyarlaması olan 'Tersine Dünya' (1993), Şerif Gören'in 'Amerikalı' (1993), Ömer Kavur'un 'Buluşma' (1995), 'Karşılaşma' (2003), Atıf Yılmaz'ın 'Nihavend Mucize' (1997), Barış Pirhasan'ın "O da Beni Seviyor" (2001), İlksen Başarır'ın Başka Dilde Aşk (2009) adlı filmlerinde rol aldı. O da Beni Seviyor filmindeki rolü ile En İyi Kadın Oyuncu dalında 2002 Sadri Alışık Ödülü'ne, 15. Ankara Uluslararası Film Festivali'nde Karşılaşma filmindeki rolü ile En İyi Kadın Oyuncu Ödülü'ne değer görüldü.

Sinema filmlerinin yanı sıra televizyon dizilerinde de rol aldı. Rol aldığı televizyon dizileri arasında Yorgun Savaşçı, Artist Palas, Şaşıfelek Çıkmazı, Çatısız Kadınlar, Hatırla Sevgili, Kanal D'de yayınlanan 'Kavak Yelleri' dizisinin son sezonu bulunur.

2000 yılında Tiyatrokare'nin sahnelediği Amerikalı oyun yazarı David Mamet'in Oleanna adlı oyunundaki rolü ile tiyatro oyunculuğuna başladı. 2002'de oyuncu ve illüzyonist Kubilay Tunçer ile birlikte Açık Tiyatro adlı tiyatroyu kurdu; Tunçer'in yazdığı Olağan Mucizeler adlı iki kişilik oyunda rol aldı. Oyunu İngilizce olarak Edinburgh ve Londra'da da sahneledi. Ardından, Açık Tiyatro'nun Katil Uşak adlı oyununda şizofren bir kadını canlandırdı. 2006'da Akbank Sanat Prodüksiyon Tiyatrosu'nda Işıl Kasapoğlu'nun sahneye koyduğu Antiloplar adlı oyunda rol aldı.

1990'lı yıllardan itibaren insan hakları, Kürt sorunu, Ermeni sorunu, hayvan hakları konularında eylemlere katıldı. 1994 yılında 2 Aralık gecesi Özgür Gündem gazetesi binalarının bombalanmasının ardından bombaya karşı tepkilerini İstiklal Caddesi'nde gazete satarak gösteren aydınlar arasında yer aldı. 2000 yılında "Düşünceye Özgürlük-2000" adlı kolektif kitaba yayıncı sıfatıyla imza atan 16 kişi arasında yer aldı. Bu eylemi nedeniyle suç işledikleri öne sürülerek 15 yıla kadar ağır hapis istemiyle yargılandı ve beraat etti. 2008 yılında bir grup aydının düzenlediği Özür Diliyorum Kampanyası'na imza attı. 2009 yılında Diyarbakır'da koyun otlatırken meydana gelen patlama sonucu hayatını kaybeden 14 yaşındaki Ceylan Önkol'un ölümü ile ilgili olarak Karakol Komutanlığı yetkilileri hakkında suç duyurusunda bulunan sanatçılar arasında yer aldı. 2013 yılında devrin hükûmeti tarafından Türkiye-PKK çatışması'nı çözmeye yönelik girişimler kapsamında kurulan Akil İnsanlar Heyeti'nde yer aldı.

Filmografisi

Tiyatro oyunları
 İyi Geceler Anne : Marsha Norman, Ankara Sanat Tiyatrosu - 2019
Antiloplar : Henning Mankell - Aksanat Prodüksion Tiyatrosu - 2007
Katil Uşak : Kubilay Tunçer - Açık Tiyatro - 2003
 Olağan Mucizeler : Kubilay Tunçer - Açık Tiyatro - 2002
 Oleanna : David Mamet - Tiyatrokare - 2000

Ödülleri
 15. Ankara Uluslararası Film Festivali, "Karşılaşma" En İyi Kadın Oyuncu Ödülü
 29. Antalya Film Şenliği, "Düş Gezginleri" 1992 En İyi Kadın Oyuncu Ödülü
 7. Sadri Alışık Tiyatro ve Sinema Oyuncu Ödülleri, "O da Beni Seviyor" 2002 En İyi Kadın Oyuncu Ödülü

Kaynakça

Dış bağlantılar
 SinemaTürk Sayfası
 Muammer Yanmaz - Kadın Oyuncular Fotoğraf Sergisi / Lale Mansur Foto (2006)

1956 doğumlular
Türk kadın dizi oyuncuları
Türk kadın sinema oyuncuları
Türk agnostikler
Türk hayvan hakları savunucuları
Yaşayan insanlar
İstanbul doğumlu kadın oyuncular

Lale Mansur


Visual rhetoric is the art of effective communication through visual elements such as images, typography, and texts. Visual rhetoric encompasses the skill of visual literacy and the ability to analyze images for their form and meaning.  Drawing on techniques from semiotics and rhetorical analysis, visual rhetoric expands on visual literacy as it examines the structure of an image with the focus on its persuasive effects on an audience.

Although visual rhetoric also involves typography and other texts, it concentrates mainly on the use of images or visual texts. Using images is central to visual rhetoric because these visuals help in either forming the case an image alone wants to convey, or arguing the point that a writer formulates, in the case of a multimodal text which combines image and written text, for example. Visual rhetoric has gained more notoriety as more recent scholarly work started exploring alternative media forms that include graphics, screen design, and other hybrid visual representations that does not privilege print culture and conventions. Also, visual rhetoric involves how writers arrange segments of a visual text on the page. In addition to that, visual rhetoric involves the selection of different fonts, contrastive colors, and graphs, among other elements, to shape a visual rhetoric text. One vital component of visual rhetoric is analyzing  the visual text. The interactional and commonly hybrid nature of cyber spaces that usually mixes print text and visual images unable some detachment of them as isolated constructs, and scholarship has claimed that especially in virtual spaces where print text and visuals are usually combined, there is no place either for emphasizing one mode over another. One way of analyzing a visual text is to look for its significant meaning.

Simply put, the meaning should be deeper than the literal sense that a visual text holds. One way to analyze a visual text is to dissect it in order for the viewer to understand its tenor. Viewers can break the text into smaller parts and share perspectives to reach its meaning. In analyzing a text that includes an image of the bald eagle, as the main body of the visual text, questions of representation and connotation come into play.  Analyzing a text that includes a photo, painting, or even cartoon of the bold eagle along with written words, would bring to mind the conceptions of strength and freedom, rather than the conception of merely a bird.

This includes an understanding of the creative and rhetorical choices made with coloring, shaping, and object placement. The power of imagery, iconic photographs, for instance, can potentially generate actions in a global scale. Rhetorical choices carry great significance that surpass reinforcement of the written text.  Each choice, be font, color, layout, represents a different message that author wants to portray for the audience. Visual rhetoric emphasizes images as sensory expressions of cultural and contextual meaning, as opposed to purely aesthetic consideration. Analyzing visuals and their power to convey messages is central to incorporating visual rhetoric within the digital era as nuances of choices regarding audience, purpose and genre can be analyzed within a single frame and the rationale behind designers' rhetorical choices can be revealed and analyzed by how the elements of visuals play out altogether. Visual rhetoric has been approached and applied in a variety of academic fields including art history, linguistics, semiotics, cultural studies, business and technical communication, speech communication, and classical rhetoric. Visual rhetoric seeks to develop rhetorical theory in a way that is more comprehensive and inclusive with regard to images and their interpretations.

History and origin
The term Rhetoric originated in ancient Greece and its concept has been widely discussed for thousands of years. Sophists first coined the idea as an abstract term to help label the concept, while Aristotle more narrowly defined rhetoric as a message's potential to influence audiences.  Linguists and other researchers often define rhetoric through the well-known five canons of rhetoric. Over time, this definition has evolved, expanded, and raised serious debate as new digital mediums of communicating have developed.

In his book Elements of Criticism, rhetorician Lord Kames (also known as Henry Home) laid the groundwork for later rhetoricians by taking the controversial stance of including visual art in his theory of criticism. Kames argued many of the same points as other Enlightenment scholars—mainly that art was beneficial to the public—and worthy of note and praise—if it was encouraging a moral improvement of its audience.

French theorist Roland Barthes in 1977 brought to light a new way to evaluate other communication means, showing the relevance of traditional rhetorical theories to the still photographic medium. Barthes explained visual rhetoric generally as the implied and interpreted messages from the work, yet these bigger messages often extend beyond the initial superficial interpretation. Visual rhetoric uses a variety of tools to hook readers within its mediums (e.g. gifs). Although similar in nature, one striking difference between visual and classical rhetoric is the newfound outlook on Aristotle's original canons. Linda Scott created a newfound audience by constructing new cannons exclusive to visual rhetoric. Instead of closely monitoring the content, as with the initial five canons, Scott's focused on the visual medium's ability to invent and argument, arrangement of the item, and all coupled with a meaningful delivery of presentation. Since its inception, popular studies have appeared in published works to discuss the role of visual rhetoric in many facets of human life, especially advertising.

The term emerged largely as an effort to set aside a certain area of study that would focus attention on specific rhetorical elements of visual mediums. Historically, the study of rhetoric has been geared toward linguistics.  Visual symbols were deemed trivial and subservient and thus, were largely ignored as part of a rhetorical argument. As a result, modern rhetorical theory developed with a significant exclusion of these visual symbols, ignoring the field of visual rhetoric as a separate area of study.  Scholars of visual rhetoric analyze photographs, drawings, paintings, graphs and tables, interior design and architecture, sculpture, Internet images, and film.  From a rhetorical perspective, the focus is on the contextual response rather than the aesthetic response.  An aesthetic response is a viewer's direct perception with the sensory aspects of the visual, whereas with a rhetorical response, meaning is given to the visual.  Every part of the artifact has significance in the message being conveyed; each line, each shading, each person has a purpose. As visual rhetoricians study images and symbols, their findings catalyze challenges to the linguistic meaning altogether, allowing a more holistic study of the rhetorical argument to emerge with the introduction of visual elements.

Related studies

Composition
The field of composition studies has recently returned its attention to visual rhetoric. In an increasingly visual society, proponents of visual rhetoric in composition classes suggest that increased literacy requires writing and visual communication skills. In relation to visual rhetoric, the composition field positions itself, more broadly, into challenging reductive definitions of composing and rhetoric that gravitate toward verbal communication only.  Touching upon rhetorical processes/decisions that affect a visual design is a venue for calling composition scholars' attention of the function that arrangements of images and words play out in writing practices and thus communication, emphasizing the complex relationship between verbal and visual meanings. Visual communication skills relate to an understanding of the mediated nature of all communication, especially to an awareness of the act of representation. Visual rhetoric can be utilized in a composition classroom to assist with writing and rhetoric development.

Semiotics
Semiotic theory is defined as a theory that seeks to describe the rhetorical significance of sign-making. The central idea of the theory is that a sign does not exist outside of a contextual experience, but it only exists in relation to other signs, objects, and entities. Therefore, the sign belongs to a larger system, and when taken out of context of other signs, is rendered meaningless and uncommunicable. The parts of a semiotic are divided into two parts: the material part of the sign is known as the form of expression, the meaning of the form of expression is known as form of content. In semiotic theory, the expression only has meaningful content when existing in a larger contextual framework.

Areas of focus
While studying visual objects, rhetorical scholars tend to have three areas of study: nature, function, or evaluation.  Nature encompasses the literal components of the artifact.  This is a primary focus of visual rhetoric because in order to understand the function of an image, it is necessary to understand the substantive and stylistic nature of the artifact itself.  Function holds a somewhat literal definition—it represents the purpose an image serves for an audience.  The function, or purpose, of an image may be to evoke a certain emotion.  The evaluation of an artifact determines if the image serves its function.

Rhetorical application
Visual rhetoric studies how humans use images to communicate.  Elements of images, such as size color, line, and shape, are used to convey messages. In images, meanings are created by the layout and spatial positions of these elements. The entities that constitute an image are socially, politically, and culturally constructed. The same image may represent different rhetorical meanings depending on the audience. The choice and arrangement of the elements in an image should be used to achieve the desired rhetorical effects and convey messages accurately to specific audiences, societies, and cultures.

The use of images is a conscious, communicative decision as the colors, form, medium, and size are each chosen on purpose.  However, a person may come in contact with a sign, but if they have no relation to the sign, its message is arbitrary. Therefore, in order for artifacts or products to be conceptualized as visual rhetoric, they must be symbolic, involve human intervention, and be presented to an audience for the purpose of communicating.

In "The Rhetoric of the Image", Roland Barthes examines the semiotic nature of images, and the ways that images function to communicate specific messages. Barthes points out that messages transmitted by visual images include coded iconic and non-coded iconic linguistic messages. Visual rhetorical images can be categorized into two dimensions: meaning operation and visual structure. Meaning operation refers to the relations and connections between elements in visual images. Visual structure refers to the way that the elements are visually displayed.

Analysis terminology
Rhetorical critics have borrowed analysis terminology from C.S. Peirce to accomplish direct analysis of visual messages. Icon (or iconic signs), index (or indexical signs), and symbol (or symbolic signs) are three basic categories of recognizable characteristics of visual messages. Icons, or iconic signs, are recognized based on resemblance to known elements or items (e.g., one's ID photo on a company badge). Indexes, or indexical signs, are recognized based on understanding of a visual trace, imprint, or element that signals prior activity, or process, the agent of which is no longer visible (e.g., tire tracks in the sand). Symbols, or symbolic signs, are recognized only on the basis of a shared, learned code of visual signs (e.g., a Mercedes Benz logo, or any printed word in any written language). These three types of visual signs individually, or in combination, make up the visual design elements of nearly all visual messages.

Modern application
Visual images have always played a role in communication, however the recent advancements in technology have enabled users to produce and share images on a mass scale.  The mass communication of images has made spread of news and information a much quicker process.  As a result, certain images may go "viral", meaning the image may have been shared and seen by a large number of audiences, and attracted mainstream media attention.  Images are utilized in a variety of ways for a number of purposes. From business to art to entertainment, the versatility of images in popular culture have some scholars arguing words will eventually become outdated.

How to Rhetorically Analyze an Image

Determine the audience; who the intended readership/viewer of the text.
Determine the purpose; the importance of the message behind the image.
Determine the context and meaning(s) behind the image/text.

How to Rhetorically Analyze the Design Choices of an Image:

 Emphasis: search for the stress of the image; where does the author/artist want the audience attention to go to?
 Contrast: search for the element that stands out in the image; where is the emphasis in the image?
 Color: helps the audience figure out the emphasis of an image. Why were certain colors used in this image? What do the choice of these colors tell us?
 Organization: the arrangement of elements that make the image a whole. How is the image organized? What does the organization of the image tell the audience?
 Alignment: the line up of the image. How does the alignment of the image control how the audiences' eyes view the image?
 Proximity: the space used (or not used) in an image. How close (or not so close) are the elements portrayed in the image? What meaning does that make?

Visual communication design

Method of appeal
Aristotle proposed three types of appeal to an audience:

 Ethos is the appeal to ethics or integrity.
 Pathos is the appeal to emotions
 Logos is the appeal to logic or reason

These techniques are a technical skill learned and utilized by visual communication designer's today, such as in the field of advertising. Each of these methods of appeal have the ability to influence their audience in different ways. Methods of appeal can also be combined to strengthen the underlying message.

Visual literacy
Visual literacy is the ability to read, analyze, and evoke meaning from visual text through the means of visual grammar. Visual Communication Designers depend on their audience having visual literacy to comprehend their outputted materials.

Visual Ethics
Research has shown that there are ethical implications to the presentation of visuals. "Visuals present the risk of, all too easily, swaying their audiences in an unethical fashion." Advances in technology have made it easier to manipulate and distort visuals. Visual communicators are expected to accurately portray information and avoid misleading or deceiving viewers.

Advertisements
Advertisers know that their consumers are able to associate one thing to another; therefore, when an ad shows two things that seemingly different, they know that the consumer will find a connection between the two. Advertisers also find ways to make sure that the consumer creates a positive association between what they are selling and whatever they are associating their product with.

In advertising, there are nine main classifications for how ads incorporate visual rhetoric. These classifications vary in complexity with the least complex being when advertisers juxtapose their product with another image (listed as 1,2,3). After juxtaposition, the complexity is increased with fusion, which is when an advertiser's product is combined with another image (listed as 4,5,6). The most complex is replacement, which replaces the product with another product (listed as 7,8,9). Each of these sections also include a variety of richness. The least rich would be connection, which shows how one product is associated with another product (listed as 1,4,7). The next rich would be similarity, which shows how a product is like another product or image (listed as 2,5,8,). Finally, the most rich would be opposition, which is when advertisers show how their product is not like another product or image (listed as 3,6,9).
 Advertisers can put their product next to another image in order to have the consumer associate their product with the presented image.
 Advertisers can put their product next to another image to show the similarity between their product and the presented image.
 Advertisers can put their product next to another image in order to show the consumer that their product is nothing like what the image shows.
 Advertisers can combine their product with an image in order to have the consumer associate their product with the presented image.
 Advertisers can combine their product with an image to show the similarity between their product and the presented image.
 Advertisers can combine their product with another image in order to show the consumer that their product is nothing like what the image shows.
 Advertisers can replace their product with an image to have the consumer associate their product with the presented image.
 Advertisers can replace their product with an image to show the similarity between their product and the presented image.
 Advertisers can replace their product with another image to show the consumer that their product is nothing like what the image shows.

Each of these categories varies in complexity, where putting a product next to a chosen image is the simplest and replacing the product entirely is the most complex. The reason why putting a product next to a chosen image is the most simple is because the consumer has already been shown that there is a connection between the two. In other words, the consumer just has to figure out why there is the connection. However, when advertisers replace the product that they are selling with another image, then the consumer must first figure out the connection and figure out why the connection was made.

Visual arts
Visual tropes and tropic thinking are a part of visual rhetoric. While the field of visual rhetoric isn't necessarily concerned with the aesthetic choices of a piece, the same principles of visual composition may be applied to the study and practice of visual art. For example, figures of speech, such as personification or allusion, may be implemented in the creation of an artwork. A painting may allude to peace with an olive branch or to Christianity with a cross; in the same way, an artwork may employ personification by attributing human qualities to a non-human entity. In general, however, visual art is a separate field of study than visual rhetoric.

Graffiti
Graffiti is a "pictorial or visual inscription on a  accessible surface." According to Hanauer, Graffiti achieves three functions; the first is to allow marginalized texts to participate in the public discourse, the second is that graffiti serves the purpose of expressing openly "controversial contents", and the third is to allow "marginal groups to the possibility of expressing themselves publicly." Bates and Martin note that this form of rhetoric has been around even in ancient Pompeii; with an example from 79 A.D. reading, "Oh wall, so many men have come here to scrawl, I wonder that your burdened sides don't fall".  Gross and Gross indicated that graffiti is capable of serving a rhetorical purpose. Within a more modern context, Wiens' (2014) research showed that graffiti can be considered an alternative way of creating rhetorical meaning for issues such as homelessness. Furthermore, according to Ley and Cybriwsky graffiti can be an expression of territory, especially within the context of gangs.  This form of Visual Rhetoric is meant to communicate meaning to anyone who so happens to see it, and due to its long history and prevalence, several styles and techniques have emerged to capture the attention of an audience.

Visual rhetoric of text
While visual rhetoric is usually applied to denote the non-textual artifacts, the use and presentation of words is still critical to understanding the visual argument as a whole. Beyond how a message is conveyed, the presentation of that message encompasses the study and practice of typography. Professionals in fields from graphic design to book publishing make deliberate choices about how a typeface looks, including but not limited to concerns of functionality, emotional evocations, and cultural context.

Memes
Though a relatively new way of using images, visual Internet memes are one of the more pervasive forms of visual rhetoric. Visual memes represent a genre of visual communication that often combines images and text to create meaning. Visual memes can be understood through visual rhetoric, which "combines elements of the semiotic and discursive approaches to analyze the persuasive elements of visual texts." Furthermore, memes fit into this rhetorical category because of their persuasive nature and their ability "to draw viewers into the argument's construction via the viewer's cognitive role in completing "visual enthymemes" to fill in the unstated premise." The visual portion of the meme is a part of its multimodal grammar, allowing a person to decode the text through "cultural codes" that contextualize the image to construct meaning. Because of what is unstated, memetic images can hold multiple interpretations. As groups create and share a specific meme template what is unstated becomes a fixed reading with "novel expression."

Shifman, in an analysis of KnowYourMeme.com, found that popular memetic images often feature juxtaposition and frozen motion. Juxtaposition frames clashing visual elements in order to "deepen the ridicule" with a large incongruity or diminishes the original contrast by taking the visual object into a more fitting situation. Frozen motion pictures an action made static, leaving the viewer to complete the motion in order to complete the premise.

Considered by some scholars to be a subversive form of communication, memetic images have been used to unify political movements, such as umbrellas during the Umbrella Movement in Hong Kong or the images of tea bags by the Tea Party Movement in 2009.

According to a 2013 study by Bauckhage, et al., the temporal nature of most memes and their "hype cycles" of popularity are in line with the behavior of a typical fad and suggest that after they proliferate and become mainstream, memes quickly lose their appeal and popularity. Once it has lost its appeal, a meme is pronounced "dead" to signify its overuse or mainstream appearance.

Among the intrinsic factors of memes that affect their potential rise to popularity is similarity. A 2014 study conducted by researcher Michele Coscia concluded that meme similarity has a negative correlation to meme popularity, and can therefore be used, along with factors like social network structure, to explain the popularity of various memes. A 2015 study by Mazambani et al. concluded that other factors of influence in meme spread within an online community include how relevant a meme is to the "topic focus" or theme of the online community as well as whether the posting user is in a position of power within an online setting. Memes that are consistent with a group's theme and memes that originate from lower-status members within the group spread faster than memes that are inconsistent and are created by members of a group that are in positions of power.

Scholars like Jakub Nowak propose the idea of popular driven media as well. Successful memes originate and proliferate by means of anonymous internet users, not entities like corporations or political parties that have an agenda. For this reason, anonymity is linked to meme popularity and credibility. Nowak asserts that meme authorship should remain anonymous, because this is the only way to let people make the statements that they want to freely.

See also
Media influence
Media theory of composition
Rhetoric
Digital rhetoric
Visual communication
Visual culture
Visual literacy
Visualization (graphics)

References

External links
Visual Rhetoric in Social Campaigns
 viz.: Rhetoric, Visual Culture, Pedagogy
Semiotics for Beginners
Pictorial Semiotics

Communication studies
Writing
Graphic design
Rhetoric
Semiotics
Scientific visualization
Visual arts theory

Visual rhetoric


Kvennahreyfing Samfylkingarinnar var stofnuð árið 2005. Kvennalistinn var einn af fjórum flokkum sem stóðu að stofnun Samfylkingarinnar árið 1999. Fljótlega fóru konur að tala um að stofna með sér sérstaka hreyfingu og var fyrsta þing Kvennahreyfingar haldið 2001 í Munaðarnesi. og áform um formlega stofnun voru rædd á Landsfundi Samfylkingarinnar 2005. Seinna sama ár var Kvennahreyfingin formlega stofnuð í Hveragerði.  Á stofnfundinn mættu rúmlega hundrað konur sem unnu í tvo daga í málefnahópum við að móta stefnu og starfsreglur fyrir hreyfinguna. Hreyfingin er tengslanet til að efla og virkja konur innan flokksins og til að móta og hafa áhrif á að stefna flokksins sé femínísk, Afnám misréttis í launum, barátta gegn kynferðislegu ofbeldi og fjölgun kvenna hvarvetna þar sem ráðum sé ráðið var forgangsmál.

Formenn Kvennaheyfingar Samfylkingarinnar

 2005  Bryndís Friðgeirsdóttir

 2006  Ragnhildur Helgadóttir

 2007  Steinunn Valdís Óskarsdóttir

 2010  Elfur Logadóttir

 2012  Hrafnhildur Ragnarsdóttir

 2013  Heiða Björg Hilmisdóttir

 2016  Steinunn Ýr Einarsdóttir

 2018  Sigrún Skaftadóttir

 2020  Steinunn Ýr Einarsdóttir

 2022 Hildur Rós Guðbjargardóttir

Tilvísanir

Stofnað 2005
Samfylkingin
Íslensk kvennasamtök

Kvennahreyfing Samfylkingarinnar


Battos II Eudaímōn (« L'Heureux »), en grec ancien , est le troisième roi de Cyrène (actuelle Libye), de  et jusqu'aux années 560.

Biographie

D'après l'historien François Chamoux, Battos II prit le pouvoir au plus tard entre  et . Pour déterminer la date du début du règne de ce roi, François Chamoux s'appuie sur l'un des rares événements de l'histoire de Cyrène à l'époque archaïque qu'il est possible de dater avec certitude : l'expédition dirigée contre la cité par le pharaon Apriès, l'échec de l'expédition ayant provoqué la chute du Pharaon en  et l'avènement d'Ahmôsis II. Il aurait fallu au minimum quatre ou cinq années pour que l'immigration de nombreux colons grecs, provoquée par un oracle de la Pythie que Hérodote situe explicitement durant le règne de Battos II, prenne suffisamment d'ampleur pour pousser les tribus libyennes voisines de Cyrène à demander l'aide du pharaon Apriès.

Dès le début de son règne, Battos II fit appel à tous les Hellènes pour renforcer la population hellène de la cité nouvelle. Par l'intermédiaire de la Pythie, qui proclama que , le roi invita tous les Grecs à venir s'installer en Cyrénaïque, avec la promesse d'un lot de terres pour tous les nouveaux arrivants. Ceux qui répondirent à l'appel furent nombreux. Si François Chamoux affirme qu'ils furent principalement Péloponnésiens, Egéens et Crétois, constituant deux des trois nouvelles tribus instituées par le réformateur Démonax de Mantinée, sous le règne de Battos III, Michela Costanzi estime au contraire que la présence à Cyrène de Grecs venus d'autres horizons ne date pas de l'oracle de , car .

Pour fournir des terres à tous les nouveaux arrivants, les Cyrénéens s'emparèrent de domaines que les Libyens du voisinage considéraient jusque-là comme leur propriété exclusive. Le roi libyen Adikran, de la tribu des Asbystes, demanda l'aide du pharaon Apriès afin de repousser les Grecs. Le Pharaon, se considérant suzerain de la Libye, dépêcha rapidement une armée, qui fut défaite à la région d'Irasa, près de la source Thestis.

D'après Hérodote, la défaite fut si importante, et les pertes égyptiennes si nombreuses, qu'elles provoquèrent la chute du Pharaon en . Son successeur, Ahmôsis II, conclut un traité d'alliance avec la cité de Cyrène et épousa une femme du nom de Ladiké, peut-être la fille de Battos II, ou d'un Cyrénéen du nom de Critobule.

Bien que le reste de la vie de Battos II est particulièrement méconnu, son règne fut d'une grande importance dans l'histoire de la cité, en témoigne l'épithète que Hérodote lui prête, l'Heureux. Preuve supplémentaire du prestige de ce souverain, c'est à cette époque qu'Eugammon de Cyrène compose sa Télégonie dans laquelle le poète rattache explicitement la dynastie des Battiades à Ulysse en personne. Ainsi, d'après François Chamoux, .

Il est difficile de dater la fin du règne de Battos II : néanmoins, celui-ci ne put aller au-delà des années 560. En effet, selon Hérodote, la cité de Barca a été fondée par les frères dissidents d'Arcésilas II, probablement dans les années 560 ou 550, Cyrène se trouvant alors dans une situation de stasis, c'est-à-dire de crise politique interne.

Notes et références

Bibliographie

 .
 .
 .

Roi de Cyrène
Date de naissance non renseignée (VIIe siècle av. J.-C.)
Monarque du VIIe siècle av. J.-C.
Monarque du VIe siècle av. J.-C.
Personnalité de la Grèce antique

Battos II


Die Kirche San Pedro in der Gemeinde Dozón in der spanischen Provinz Pontevedra der Autonomen Gemeinschaft Galicien ist eine romanische Kirche aus dem 12. Jahrhundert. Die dem Apostel Petrus geweihte Kirche ist das einzige Gebäude, das von dem ehemaligen Benediktinerinnenkloster San Pedro de Vilanova erhalten geblieben ist.

Geschichte
Das Kloster San Pedro de Vilanova wurde 1124 von der Witwe Guntroda Suárez gegründet. Wie aus einer Inschrift an der Nordwand der Apsis hervorgeht, wurden im Jahr 1154 Bauarbeiten ausgeführt. 1499 wurde San Pedro de Vilanova dem Kloster San Pelayo de Antealtares in Santiago de Compostela unterstellt.

In 2022 wurden umfangreiche Sanierungsarbeiten vorgenommen. Dabei wurden Feuchtigkeitsschäden beseitigt, das Dach und die Kirchenfassade repariert und der Außenbereich gepflastert.

Architektur
Die einschiffige Kirche ist aus großen Granitquadern errichtet. Die Außenmauern werden von Strebepfeilern gegliedert. Besonders kunstvoll ist die halbrunde Apsis gestaltet, die durch Halbsäulen in fünf Felder mit Archivoltenfenstern unterteilt wird. Die Fenster werden von schlanken Säulen eingefasst, deren Kapitelle und Basen mit floralen und geometrischen Motiven verziert sind. Die Archivolten sind mit Schachbrettfriesen versehen und ruhen auf Kämpfern, die eine horizontale Gliederung bewirken. Die Halbsäulen verbinden Blendarkaden, die auf skulptierten Kragsteinen aufliegen. Das mittlere Feld ist von einer Rosette und einem Okulus durchbrochen und wird von einer Archivolte mit Blütendekor gerahmt.

Über dem Nordportal erhebt sich der Glockengiebel (espadaña). Wie die Portale der Süd- und Westfassade öffnet sich das Nordportal in einem von Strebepfeilern und Blendarkaden über Kragsteinen eingefassten Feld und wird von Säulen mit skulptierten Kapitellen und Archivolten gerahmt. Das Tympanon des Nordportals ist wie das Tympanon des schlichteren Südportals mit dem Relief eines Kreuzes verziert.

Literatur
 Jaime Cobreros: Las Rutas del Románico en España. Band I, Guía Total, Madrid 2004, ISBN 84-9776-010-7, S. 318–319.
 Anton Pombo: Galicia. Guía Total, Madrid 2009, ISBN 978-84-9776-713-2, S. 178.

Weblinks

 Iglesia - Monasterio de San Pedro de Dozón - Pontevedra. YouTube (Video)
 Guía del Románico en Candán y Deza (Pontevedra). Iglesia del Monasterio de San Pedro de Dozón. arteguias (spanischer Text)
 Vilanova de Dozón. La guía digital del arte románico (spanisch)

Einzelnachweise

Bauwerk in der Provinz Pontevedra
Kirchengebäude in Galicien
Kulturdenkmal in der Provinz Pontevedra
Bauwerk der Romanik in Galicien
Erbaut im 12. Jahrhundert
Ehemaliges Benediktinerinnenkloster in Spanien
Ehemalige Benediktinerkirche
Peterskirche
Granitbauwerk
Kloster in Galicien
Geschichte (Galicien)
Dozon

San Pedro (Dozón)


An Saxofridericia inermis in uska species han Liliopsida nga ginhulagway ni Adolpho Ducke. An Saxofridericia inermis in nahilalakip ha genus nga Saxofridericia, ngan familia nga Rapateaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Saxofridericia

Saxofridericia inermis


Edgar González Franco (Toluca, Estado de México, 3 de julio de 1980) es un futbolista mexicano retirado.

Trayectoria
Fue un delantero rápido y de mucha técnica para remate a gol. Debuta con el Deportivo Toluca en el Apertura 2002 contra Necaxa. Sin embargo, bajo la sombra de Cardozo y Vicente Sánchez, poco puede hacer para tener regularidad. Está registrado con carné único en el Atlético Mexiquense de la Primera "A", lo que le permite tener actividad y poder jugar cuando se le requiera en el máximo circuito. Poco a poco va teniendo más actividad, aunque con Cardozo y Vicente Sánchez adelante, era difícil ser titular. Para el Apertura 2004 es transferido al Club América, donde tampoco tiene muchas esperanzas de ser titular. Regresó a Toluca para el Apertura 2006 y jugó otros 36 partidos con ellos hasta el final del Clausura 2008. Después de salir de Toluca jugó para el Club Tijuana (2008-09), CF La Piedad (2009-10), Altamira FC (2010-11) y el Club Universidad de Guadalajara, en la Liga de Ascenso. Tras el ascenso de Potros de segunda a la liga de plata del futbol mexicano, Edgar González se une como jugador de la escuadra equina de la Universidad Autónoma del Estado de México (UAEMex)

Clubes

Palmarés

Campeonatos nacionales

Referencias

Nacidos en Toluca de Lerdo
Futbolistas del Estado de México
Futbolistas del Deportivo Toluca Fútbol Club
Futbolistas del Club América en los años 2000
Futbolistas del Club Tijuana
Futbolistas de los Reboceros de La Piedad
Futbolistas del Altamira Fútbol Club
Futbolistas de los Leones Negros de la Universidad de Guadalajara
Futbolistas del Club Atlético de San Luis
Futbolistas de los Alebrijes de Oaxaca
Futbolistas de los Potros de la Universidad Autónoma del Estado de México

Edgar González Franco


Jens Andresen (født 10. oktober 1947 i Kalleshave, Agtrup) var formand for Grænseforeningen fra 2016 og for bestyrelsen for Højskolen Østersøen i Aabenraa frem til 2019. I Sønderjyllands Amt var han formand for sygehusudvalget, og han var viceamtsborgmester.

Andresen er opkaldt efter sin farfar (1892-1965), der som den øvrige familie var en stovt forkæmper for danskheden i Sydslesvig. Han er søn af Hans Detlef Andresen (1917-2016) og nevø af Karl Andresen (1926-2004) og Sigfred Andresen (1925-1993).

Jens Andresen har leveret et væsentligt bidrag til sin biografi i Sønderjyske Årbøger 2021.

Jens Andresen er cand.agro. og bor i Branderup i Løgumkloster Kommune. Han har været aktiv i kommunal- og regionspolitik for partiet Venstre og har varetaget en række tillidsposter, herunder medlem af amtsrådet 1994-2006; senere medlem af regionsrådet for Sønderjylland-Schleswig. Kommunalbestyrelsesmedlem i Tønder 2006-09. Han blev Grænseforeningens landsformand efter Mette Bock, da hun blev minister i 2016. Han er lokalformand for Tønder Amts Grænseforening.

Referencer

Eksterne henvisninger
 biografi om Jens Andresen på grænseforeningen.dk
 Faderen Hans Detlef Andresens erindringer
 Jens Andresen på Facebook

Sydslesvig
Personer fra Sønderjylland (i Danmark)

Jens Andresen


إيمي روسوم  ممثلة ومغنية يهودية أمريكية من مواليد 12 سبتمبر 1986. شاركت في عدة أفلام منها بوسايدون وفيلم اليوم الذي بعد الغد (The Day After Tomorrow).

فيلموغرافيا

الجوائز والترشيحات

مواقع خارجية

مراجع

أشخاص على قيد الحياة
أشخاص من مانهاتن
أشخاص من مدينة نيويورك
أمريكيون من أصل إنجليزي
أمريكيون من أصل هولندي
أمريكيون من أصل يهودي روسي
بيئيات أمريكيات
بيئيون أمريكيون
خريجو جامعة كولومبيا
ديمقراطيون من ولاية نيويورك
سوبرانو أمريكيون
فنانو تسجيلات وورنر بروس
مخرجات تلفزيون
مخرجات تلفزيون أمريكيات
مخرجو تلفزيون أمريكيون
مغنون أطفال أمريكيون
مغنون أمريكيون في القرن 21
مغنون يهود
مغنيات أمريكيات في القرن 21
ممثلات أطفال أمريكيات
ممثلات أفلام أمريكيات
ممثلات أمريكيات في القرن 20
ممثلات أمريكيات في القرن 21
ممثلات تلفزيون أمريكيات
ممثلات من أصل بريطاني
ممثلات من أصل روسي
ممثلات من أصل هولندي
ممثلات من مدينة نيويورك
ممثلات يهوديات أمريكيات
مواليد 1986
مواليد في نيويورك
موسيقيون أمريكيون يهود
ناشطون من مدينة نيويورك
نباتيون أمريكيون
يهود أمريكيون في القرن 21

إيمي روسوم


Malcom Filipe Silva de Oliveira () este un fotbalist brazilian care evoluează la clubul Al Hilal FC, pe postul de atacant.

Carieră de club

Corinthians
Malcom și-a început cariera în tineretul clubului Corinthians. A fost chemat de antrenorul Mano Menezes să integreze în principala echipă în 2014. A fost un jucător regulat în primul unsprăzece în Campeonato Brasileiro Série A. A avut un total de 73 de meciuri și 10 goluri marcate în perioada sa petrecută la club.

Bordeaux
Echipa franceză Bordeaux l-a transferat pe Malcolm pentru o sumă nedezvăluită la data de 31 ianuarie 2016. [3] [4] Cu mai multe expuneri influente a devenit rapid unul din favoriți fanilor, [5] petrecând trei sezoane și marcând 23 goluri în 96 de apariții în toate competițiile.

Barcelona
La 24 iulie 2018, clubul spaniol Barcelona a anunțat semnarea lui Malcolm pe un contract de cinci ani pentru o taxă de transfer raportată de 41 de milioane de euro plus un bonus suplimentar de 1 milion de euro. El a fost anterior aproape să se alăture lui A.S. Roma, cu fanii care îl așteptau să ajungă la aeroport și directorul sportiv Monchi, care a declarat că italienii ar lua în considerare luarea de măsuri împotriva lui Bordeaux,

Titluri

Club
Corinthians
Campeonato Brasileiro Série A: 2015

International
Brazil
FIFA U-20 World Cup: vice-campioni 2015

Referințe

Legături externe

Fotbaliști brazilieni
Fotbaliști ai FC Barcelona
Atacanți
Oameni în viață
Fotbaliști la Jocurile Olimpice de vară din 2020

Malcom


Pembe Panter (), Blake Edwards'ın 1963 yapımı filmi. Bu filmi, bir sıra diğer Pembe Panter filmleri takip etmiştir. Filmden doğan Pembe Panter çizgi film kahramanı da kendi özel çizgi film serisine sahip olmuştur.

Konusu
Sir Charles Lytton (David Niven) aslında Phantom lakaplı usta bir mücevher hırsızıdır ve şimdi de dünyanın en büyük elması olan Pembe Panter'in peşindedir. Müfettiş Closeau (Peter Sellers) Phantom'u yakalamakla görevlidir. İpuçları onu İtalya'da bir kayak merkezi olan Cortina d'Ampezzo'ya götürür. Çünkü Pembe Panter'in sahibesi Prenses Dahla orada olacaktır. Closeau tüm sakarlıklarına rağmen Phanttom'u yakalamakta kararlıdır.

Diğer devam filmleri
Filmde usta hırsız Phantom tarafından çalınan Pembe Panter isminde değerli bir elmas söz konusudur. Baş rollerde David Niven ve Claudia Cardinale oynarken sakar Müfettiş  Clouseau yan rolünde oynayan Peter Sellers halkın sevgilisi haline gelmiştir. Bu filmi, 1978 yılına kadar sadece baş rolünü Müfettiş Clouseau olarak Peter Sellers'in oynadığı beş yeni film takip etmiştir. Daha sonra Steve Martin 2005'teki en son filmde Jean Reno ile oynamıştır.

 The Pink Panther (1963)
 A Shot in the Dark (1964)
 Inspector Clouseau (1968; Clouseau rolünde Alan Arkin ve yönetmen Edwards değil)
 The Return of the Pink Panther (1975; tekrar Sellers ve Edwards çalışması, diğer oyuncu Christopher Plummer)
 The Pink Panther Strikes Again (1976)
 Revenge of the Pink Panther (1978)
 Trail of the Pink Panther (1982)
 Curse of the Pink Panther (1983)
 Son of the Pink Panther (1993; Roberto Benigni Müfettiş Clouseau Jr. rolünde)
 The Pink Panther (2006; Steve Martin Müfettiş Clouseau rolünde).

1980 yılında serinin yeni bölüm (The Romance of the Pink Panther) çalışmaları esnasında, çekimlere başlamadan önce Peter Sellers sürpriz bir şekilde kalp krizinden ölür. İki yıl sonra Blake Edwards, eski ve kullanılmamış olan sahneleri kullanarak bir Pembe Panter filmini kurgular. Bu film Trail of the Pink Panther (1982) dır.

Film ayrıca Henry Mancini'nin bestelediği "The Pink Panther" melodisiyle de meşhurdur.

2005 yılında The Pink Panther ismiyle yeni bir film çevrilmiştir. Müfettiş Clouseau rolü Steve Martin tarafından canlandırılırken diğer roller Kevin Kline, Jean Reno ve Beyoncé tarafından oynanır.

Ayrıca bakınız
 Meglio Stasera (şarkı) filmin müziği ile ilgili detaylı bilgi.

Kaynakça
 Pembe Panter çizgi filmi

1960'larda komedi-macera filmleri
Blake Edwards'ın yönettiği filmler
Henry Mancini'nin müziğini yaptığı filmler
Pembe Panter filmleri
Amerika Birleşik Devletleri komedi filmleri
United Artists filmleri
Amerika Birleşik Devletleri soygun filmleri
Amerika Birleşik Devletleri Ulusal Film Arşivi filmleri
1960'larda soygun filmleri
1963 çıkışlı komedi filmleri

Pembe Panter (film, 1963)


كان كأس التحدي الآسيوي 2010 النسخة الثالثة من المسابقة التي عقدت من 16–27 فبراير في سريلانكا. أوفدت الهند، المدافعة عن اللقب، منتخبها تحت 23 سنة، إلى هذه المسابقة استعدادًا لدورة الألعاب الآسيوية 2010 في وقت لاحق من ذلك العام. تأهلت كوريا الشمالية، البطلة، إلى كأس آسيا 2011.

التصفيات

شهدت النهائيات ثلاثة متأهلين تلقائيًا التحق بهم خمسة فرق من مرحلة التصفيات. تألفت التصفيات من قسمين.
 مباراة فاصلة بين الداخلين صاحبا المركزين التاسع عشر والعشرين (منغوليا وماكاو)
 أربعة مجموعات تأهيلية من أربعة فرق. تقدم كل فائز بالمجموعة إلى النهائيات، إلى جانب الوصيف الأعلى ترتيباً. بسبب انسحاب أفغانستان استعبد ترتيب الفرق التي احتلت المركز الثاني نتائج أي مباراة ضد الفرق التي احتلت المركز الرابع.

المتأهلون
المتأهلون إلى المسابقة النهائية كانوا:
  (متأهل تلقائي)
  (متأهل تلقائي)
  (متأهل تلقائي)
  (فائز المجموعة التأهيلية أ)
  (فائز المجموعة التأهيلية ب)
  (فائز المجموعة التأهيلية ج)
  (فائز المجموعة التأهيلية د)
  (أفضل وصيف)

عقدت قرعة المسابقة النهائية يوم 30 نوفمبر 2009 في فندق غالاداري بكولومبو، سريلانكا.

مسؤولو المباريات
تم اختيار الحكام التالية أسماءهم لكأس الاتحاد الآسيوي 2010.

التشكيلات

مرحلة المجموعات
جميع الأوقات حسب توقيت سريلانكا (SLT) – ت ع م+5:30

معايير كسر التعادل
حين ينهي اثنين من الفرق أو أكثر مرحلة المجموعات بنفس العدد من النقاط، يتم تحديد ترتيبهم حسب المعايير التعالية:
 النقاط التي حصل عليها في المباريات بين الفرق المعنية؛
 فارق الأهداف في المباريات بين الفرق المعنية؛
 عدد الأهداف المسجلة في مباريات المجموعة بين الفرق المعنية؛
 فارق الأهداف في جميع مباريات المجموعة؛
 عدد الأهداف المسجلة في جميع مباريات المجموعة؛
 ركلات من نقطة الجزاء (إذا كان فقط فريقان متعادلان وكلاهما على ميدان اللعب)؛
 أقل بطاقات صفراء وحمراء تم تلقيها في مباريات المجموعة؛
 إجراء قرعة من قبل اللجنة المنظمة.

المجموعة أ

|}

المجموعة ب

|}

مرحلة خروج المغلوب

نصف النهائي

مباراة المركز الثالث

النهائي

الفائز

الجوائز

مسجلو الأهداف
4 أهداف
  ريانغ يونغ-غي

3 أهداف
  تشوي تشول-مان

هدفين

  باي سوي
  تشوي ميونغ-هو
  باك سونغ-شتول

  فتح الله فتح اللهئيف
  نعمانجان حكيموف
  يوسف رابييف

  إبراهيم رابيموف
  ماميدالي غارادانوف

هدف واحد

  إنعام الحق
  محمد زاهد حسين
  عتيق الرحمن ميشو
  دينزيل فرانكو
  إيلدار أميروف
  أنتون زمليانوخين
  كياو تي ها

  ميو مين تون
  تون تون وين
  يان باينغ
  كيم سيونغ-يونغ
  باك كوانغ-ريونغ
  ري تشول-ميونغ
  فيليب دالبيتادو

  تشاتورا غوناراتنا
  شافراز كايز
  س. سانجيف
  أرسلانمراد أمانوف
  بغلي نورمرادوف
  بردي شامرادوف
  ديدارغيليتش أورازوف

ملاحظات

مراجع

وصلات خارجية
 AFC Challenge Cup 2010 على The-AFC.com

أحداث فبراير 2010 الرياضية في آسيا
2010
كرة القدم الآسيوية في 2010
كرة القدم البنجلاديشية في 2010
كرة القدم البورمية في 2010
كرة القدم التركمانية في 2010
كرة القدم السريلانكية في 2009-10
كرة القدم الطاجيكستانية في 2010
كرة القدم القيرغيزستانية في 2010
كرة القدم الكورية الشمالية في 2010
كرة القدم الهندية في 2009-10
2010

كأس التحدي الآسيوي 2010


Moldován ist der Familienname folgender Personen:

 Ervin Moldován (* 1978), rumänischer Eishockeyspieler
 Stefánia Moldován (1931–2012), rumänisch-ungarische Opernsängerin (Sopran)

Moldován


HK Dinamo Minsk  Rússneska(Дина́мо-Минск) Hvít-Rússneska(Дынама-Мінск) er íshokkí félag frá Minsk í Hvíta-Rússlandi. Þeir eru meðlimir í hinni rússnesku KHL deild og hafa leikið í Minsk Arena síðan í desember árið 2009.

Félagið var stofnað árið 1976 og léku fimm tímabil í Sovésku efstu deildinni í íshokkí. Þann 26. Mars árið 2008 staðfesti KHL að Hvít-Rússnesk félög gætu gerst meðlimir í KHL.

Heimasíða Stuðningsmanna
 https://hcdinamo.by/

Hvít-Rússnesk Íshokkífélög
KHL

HC Dinamo Minsk


Kozan Müdâfaa-i Hukuk Cemiyeti, 7 Mart 1919'da Kozan'ın işgali ile kurulan müdâfaa-i hukuk cemiyeti.

30 Ekim 1919 Heyet-i Temsiliye, toplanarak, Kozan heyetinden Adana ve Kozan'ın durumu hakkında genel bir bilgi almıştır. Bunun üzerine bölgede teşkilat yapılması hakkında kararlar verilerek Kilikya mıntıkasına Topçu Binbaşı Kemal ve Yüzbaşı Osman Tufan, buralara gönderilerek, teşkilat ve teşebbüse geçilmesi kararlaştırıldı.

 Koyunevi Tabur Komutanı Sarıbahçeli Ahmet Ağa, Kırmızı Osman, Ağzıkaraca köyünden Musa Hoca
 Berber Bölüğü Komutanı Kurtlu Uşaklı Hacı Efendi.
 Arslanlı Bölüğü Komutanı Topalzade Halil Efendi.
 Hamam Köyü Grup Komutanı Bayramoğlu Hacı Mehmet Öztorun
 Ceritler Grup Komutanı KurdoğluHulusi Bey
 Mansurlu Bölüğü Komutanı Abdussamet Samimi
 Karacalar Bölüğü komutanı Yigenoğlu Ahmet Efendi.
 Andıl ve havalisi Müfreze Komutanı Hakkı Efendi (Turgut).
 Sırkıntı grup komutanı Ahmet cevdet Çamurdan.
 Köreken Müfrezesi komutanı Bayatoğlu Ahmet Çavuş, Gebenli Ali ve Cücen Ali Hoca. Ferhatlılı Hamdi Ağca, Kamalı Hasan, Kamalı Mehmet.
 Döşeme müfrezesi Komutanı Yiğit Ağa (asıl adı Ahmet Yiğit Akçalı, Kahraman Bey olarak da bilinir. I. Türk Dil Kurultayı Sis Bölge temsilcisidir.) ve Kadirlili mücahitler.
 Kuyuluk Bölüğü komutanı Üzeyir Hoca oğlu Hasan Efendi.
 Kayhan Grup Komutanı Çolak Hacı Ağa.

Ayrıca bakınız
 Adana Vilayeti Müdâfaa-i Hukuk Cemiyeti
 Anadolu ve Rumeli Müdâfaa-i Hukuk Cemiyeti

Müdâfaa-i hukuk cemiyetleri
Kurtuluş Savaşı'nda Adana
1919'da kurulan dernekler ve vakıflar
Kozan
Osmanlı İmparatorluğu'ndaki kuruluşlar

Kozan Müdâfaa-i Hukuk Cemiyeti


An Eleocharis macrantha in uska species han Liliopsida nga ginhulagway ni Johann Otto Boeckeler. An Eleocharis macrantha in nahilalakip ha genus nga Eleocharis, ngan familia nga Cyperaceae. Ginklasipika han IUCN an species komo diri gud kababarak-an.

Mabibilngan ini ha Syria. Waray hini subspecies nga nakalista.

Mga kasarigan

Eleocharis

Eleocharis macrantha


Premiul Hugo pentru cea mai bună povestire (în ) este un premiu acordat celei mai bune povestiri în engleză sau traduse în engleză și care a apărut anul anterior acordării premiului. Se acordă scrierilor care au sub 7000 de cuvinte, cele cu un număr mai mare de cuvinte se încadrează la Premiul Hugo pentru cea mai bună nuveletă.

Câștigători și nominalizări
  *   Câștigători
  +   Nominalizări

Retro Hugo

Începând cu Worldcon-ul din 1996, World Science Fiction Society a creat conceptul de "Retro Hugo", un premiu Hugo acordat retroactiv pentru lucrări din urmă cu 50, 75 sau 100 de ani. Premiul Retro Hugo a fost acordat de trei ori: pentru 1946, 1951 și 1954. Premiul Retro Hugo pentru lucrări din 1939 a fost acordat 75 de ani mai târziu, în timp ce celelalte trei au fost acordate după 50 de ani. Următorul premiu Retro Hugo poate fi acordat în 2016, pentru lucrări din 1941.

Vezi și
 Premiul Nebula pentru cea mai bună povestire

Note

Referințe

Legături externe
 Hugo Award official site
 List of Hugo Award nominees  in Locus magazine

Premiul Hugo


فويادين بوشكوف ، (16 مايو 1931 – 27 أبريل 2014 في بيغيتش، يوغسلافيا)، لاعب ومدرب كرة قدم يوغسلافي سابق.

لعب مع منتخب يوغسلافيا لكرة القدم، درب منتخب يوغسلافيا لكرة القدم بين عامي 1999 و2000.

مصادر

وصلات خارجية

لاعبو كرة قدم رجالية صرب
لاعبو كرة قدم رجالية يوغوسلافيون مغتربون
لاعبو كرة قدم رجالية يوغوسلافيون
لاعبو كرة قدم رجالية مغتربون في إيطاليا
أجنحة كرة قدم
حاصلون على ميداليات أولمبية في كرة القدم
حائزون على ميداليات في الألعاب الأولمبية الصيفية 1952
رياضيون من نوفي ساد
رياضيون يوغوسلافيون مغتربون في إسبانيا
رياضيون يوغوسلافيون مغتربون في إيطاليا
رياضيون يوغوسلافيون مغتربون في سويسرا
رياضيون يوغوسلافيون مغتربون في هولندا
فائزون بميداليات فضية أولمبية من يوغوسلافيا
لاعبو الدوري الإيطالي
لاعبو الدوري اليوغوسلافي الأول
لاعبو سامبدوريا
لاعبو فويفودينا
لاعبو كأس العالم 1954
لاعبو كأس العالم 1958
لاعبو كرة قدم رجالية مغتربون في سويسرا
لاعبو كرة قدم صرب مغتربون
بوشكوف
لاعبو كرة قدم في الألعاب الأولمبية الصيفية 1952
لاعبو كرة قدم مغتربون في إيطاليا
لاعبو كرة قدم مغتربون في سويسرا
لاعبو كرة قدم من نوفي ساد
لاعبو كرة قدم يوغوسلاف أولمبيون
لاعبو كرة قدم يوغوسلاف مغتربون
بوشكوف
لاعبو منتخب يوغوسلافيا لكرة القدم
لاعبو يونغ بويز
لاعبو يونغ فيلوز يوفنتوس
مدربو الدوري الإسباني
مدربو الدوري الإيطالي
مدربو الدوري الإيطالي الدرجة الثانية
مدربو الدوري الهولندي الممتاز
مدربو أدو دين هاغ
مدربو بطولة أمم أوروبا 2000
مدربو ريال سبورتينغ خيخون
مدربو ريال سرقسطة
مدربو ريال مدريد
مدربو سامبدوريا
مدربو فاينورد
مدربو كرة قدم صرب
مدربو كرة قدم مغتربون في إسبانيا
مدربو كرة قدم مغتربون في إيطاليا
مدربو كرة قدم مغتربون في سويسرا
مدربو كرة قدم مغتربون في هولندا
مدربو كرة قدم يوغوسلاف
مدربو منتخب صربيا والجبل الأسود الوطني لكرة القدم
مدربو منتخب يوغوسلافيا لكرة القدم
مدربو نادي أسكولي
مدربو نادي بيروجيا
مدربو نادي روما
مدربو نادي سيرفيت
مدربو نادي نابولي
مدربو نادي يانغ بويز
مدربو يونغ فيلوز يوفنتوس
مواليد 1931
وفيات 1435 هـ
وفيات 2014
وفيات في نوفي ساد
يوغوسلافيون مغتربون في إسبانيا
يوغوسلافيون مغتربون في سويسرا

فويادين بوشكوف


Dames de la cour jouant aux échecs est une gouache, attribuée à l'artiste indien Nevasi Lal, actif durant la période 1760-1800, peintre de la cour de , sous le règne de  (qui règne de 1754 à 1775), puis de  (qui règne de 1775 à 1797).

Histoire du tableau et destin

La dimension de cette gouache est de . La technique est celle de la gouache et de l'or sur papier. Elle se trouve au Musée national des Arts asiatiques - Guimet, à Paris, France (inventaire № MA 12112), dans le cadre de la Réunion des musées nationaux. C'est un des rares tableaux qui a survécu au siège de Lucknow lors de la révolte des cipayes en 1857-1858. Nevasi Lal, l'artiste auquel est attribuée la gouache, a travaillé dans la ville de Lucknow, en Inde, dans la seconde moitié du . Cette gouache a été créée entre 1780 et 1800.

Les critiques d'art suggèrent que la composition de cette gouache pourrait avoir été inspirée des peintures de l'artiste britannique  (1735-1786). Il a travaillé en Inde de 1768 à 1776, et beaucoup de ses toiles se sont retrouvées à Lucknow à la fin du siècle. Elles y étaient encore jusqu'à la révolte des cipayes en 1857-1858, et furent mises à la disposition des artistes locaux pour en faire des études et des copies.

Henry Thomas Colebrooke, connaisseur éminent du sanskrit, qui a vécu en Inde de 1782 à 1814, est supposé avoir ramené cette gouache en Angleterre. Colebrooke a débuté comme scribe en 1782, et a terminé sa carrière en Inde comme président de cour d'appel et membre du Conseil suprême à Fort William. Parallèlement à ses fonctions, il a entrepris des activités de recherche et de traduction. Il a ainsi travaillé au Code des lois hindoues, une étude monumentale du droit hindou, qui était resté inachevée après les travaux de William Johnson, et a également traduit deux traités de droit :  et . En 1805, il est nommé professeur de sanscrit et de droit hindou au collège de Fort-William. Pendant son séjour à Calcutta il rédige une grammaire du sanscrit (1805), plusieurs ouvrages sur les cérémonies religieuses hindoues, et un Essai sur les Vedas (1805), longtemps considéré en Europe comme l'ouvrage de référence sur ce sujet.

La gouache a été exposée à plusieurs reprises dans des expositions consacrées à l'art indien du .

Sujet et caractéristiques de la gouache
Lucknow était une ville prospère, centre de la culture musulmane en Inde. Depuis 1775, c'était la capitale de la dynastie des  de la principauté d'Awadh, qui est restée au pouvoir jusqu'à 1856. En 1773, le prince d'Awadh a été contraint de laisser un résident britannique s'installer au pouvoir et la Compagnie britannique des Indes orientales a commencé à contrôler toute la politique étrangère de la principauté. En vertu du traité de 1801, le prince d'Awadh a du dissoudre son armée et payer des sommes importantes, pour qu'un contingent militaire britannique stationne dans la principauté.

L'aristocratie indienne menait un riche style de vie dans la ville de Lucknow. L'influence de la culture européenne était croissante, en particulier au sein de cette aristocratie. La raison en était la dépendance croissante de la principauté à l'égard de la Compagnie des Indes orientales. Sur la gouache sont représentés deux aristocrates indiennes jouant aux échecs (en fait au chatrang). Les membres de la famille et les serviteurs se rassemblent pour regarder la partie et se reposer par temps de forte chaleur. Le lieu de la réunion est le harem. Le peintre souligne la spontanéité, le naturel des personnages : les enfants jouent ensemble, les servantes chuchotent, sans s'intéresser à la partie, et à l'arrière plan une maman allaite son nourrisson au sein. Une jeune fille cachée derrière une colonne observe à la dérobée ce qui se passe dans la salle. Une servante apporte le narguilé...

L'œuvre combine des éléments issus de la peinture européenne (représentation assez habile de la perspective, effets de clair-obscur) et la tradition de la miniature locale en Inde.

Positions représentées sur la gouache

L'échiquier est unicolore (particularité du chatrang, et pas typique aux échecs), et divisé en champs par des lignes blanches tracées sur un fond noir.

La partie vient de commencer et une seule pièce a été déplacée. On peut supposer que ce sont les règles du chatrang indien qui s'appliquent du fait que le pion n'est déplacé que d'une case alors qu'aux échecs européens il peut être déplacé de deux cases à partir de la position initiale. Sur la gouache les rois ne sont pas placés en E1 et E8 mais à la place inhabituelle des reines d1 et d8 comme cela est permis au chatrang.

Les pièces sont de type européen standard et non du type utilisé traditionnellement pour le chatrang.

Article connexe
 Jeu d'échecs dans la peinture

Références

Bibliographie
 Chali Kaziev . Vie quotidienne au harem (Повседневная жизнь восточного гарема). Moscou. 2006.

Jeu de société
Jeu d'échecs dans la peinture
Scène de genre

Dames de la cour jouant aux échecs


Nesoryzomys swarthi, también conocido como el Nesoryzomys Santiago o ratón Santiago Galápagos, es una especie de roedor del género Nesoryzomys de la familia Cricetidae.

Distribución
Se encuentra sólo en la Isla Santiago, en las Islas Galápagos.

Hábitat
Su hábitat natural son los matorrales secos subtropicales o tropicales.

Extinción y redescubrimiento
Se lo consideró extinguido desde que se registró por última vez en 1906, pero fue redescubierto en 1997. Una más pequeña, la rata de arroz que están relacionadas, fue redescubierto la también la Rata Fernandina Arrocera (Nesoryzomys fernandinae) en Fernandina.

Referencias

Sigmodontinae
Isla Santiago
Mamíferos de las islas Galápagos

Nesoryzomys swarthi


1999 en Guinée - 2000 en Guinée - 2001 en Guinée - 2002 en Guinée - 2003 en Guinée
 1999 par pays en Afrique - 2000 par pays en Afrique - 2001 par pays en Afrique - 2002 par pays en Afrique - 2003 par pays en Afrique

Gouvernement

Chronologie
 2001 : création de CBK.

Janvier

Février
 février 2001 : L'armée guinéenne reprend la ville de Guéckédou de l'incursion rebelle de 27 novembre 2000 via Tékoulo.

Mars

Avril

Mai

Juin
 juin 2001 : Le footballeur guinéen Mohamed Ofei Sylla prend sa retrait.

Juillet

Août

Septembre

Octobre
 octobre 2001 : Robert Sarah est nommée par le pape Jean-Paul II à la curie comme secrétaire de la Congrégation pour l'évangélisation des peuples.

Novembre
 11 décembre 2001 : élection pour le Référendum constitutionnel guinéen de 2001

Décembre
 décembre 2001 : Création de la Société des eaux de Guinée

Naissances

Décès

Références

Articles connexes
 2001 par pays en Afrique
 2001 par pays en Amérique
 2001 par pays en Asie
 2001 par pays en Europe
 2001 par pays en Océanie
 2001 par pays au Proche-Orient

2001 en Guinée


ديمير كابيا (Демир Капија) هي مدينة في مقاطعة نيغوتينو في جمهورية مقدونيا. وهي تقع بالقرب من بوابات الحجر الجيري التي تحمل نفس الاسم. باغ عدد سكانها 3,725 نسمة. المدينة هي مقر بلدية ديمير كابيا.

أصل الاسم
اسم المدينة يأتي من التركية Demir Kapı (البوابة الحديدية) عندما كانت المستوطنة جزءا من الدولة العثمانية، ولا تزال تسمى دمير كابى باللغة التركية.

السكان

الجغرافيا

ديمير كابيا اليوم

مراجع

وصلات خارجية

مدن مقدونيا

ديمير كابيا


ළමා මෙහෙකාරිත්වය
ILO (International labor Organization - ජාත්‍යන්තර කම්කරුවන්ගේ සංවිධානය) විසින් ළමා මෙහෙකාරිත්වය පිටුදැකීමට IPEC වැඩමුළුව ක්‍රියාවට නංවා ඇත.
ජාත්‍යන්තර පුහුණු මධ්‍යස්ථානය
ILO විසින් මෙය ඉතාලියේ, ටියුරින් (Turin) හි පවත්වයි.
බලහත්කාරයෙන් වැඩ ගැනීම
ILO හි විශේෂ වැඩමුළුවක් මගින් ළමුන් බලහත්කාරයෙන් සේවයේ නිරත කර ගැනීම ගැන සොයා, එවැනි ක්‍රියා ලෝකයට නිවේදනය කරයි.
HIV/AIDS
ILO AIDS නමින් HIV පිළිබඳ හා එහිදී ක්‍රියා කළ යුතු ආකාරය පිළිබඳ ව්‍යවස්ථාවක් (Code), ILO විසින් සකසා ඇත. සේවකයන් අතර HIV ආසාධිතයන් ඇති වීම වැළැක්වීමට ක්‍රියා කළ යුතු අයුරු මෙහි දක්වා ඇත. පහත කරුණු ගැන මෙහි ඇතුළත්ව ඇත.

සාමාජිකත්වය

රටක් වශයෙන් පිළිගැනෙන රටවලට මෙහි සාමාජිකත්වය ලබා ගත හැකිය. මෙයට 1945 නොවැම්බර් 1 දිනයේදී සිටි සාමාජිකයන්ද අයත් වේ. එමෙන්ම එක්සත් ජාතීන්ගේ සාමාජිකයන්ටත්, ILO සාමාජිකත්වය ගත හැක. නමුත් අනෙක් රටවලට මෙහි සාමාජිකත්වය සඳහා ඇතුළත්වීමට ILO ව්‍යවස්ථාවට අනුව වැඩි ඡන්දයෙන් සම්මත වීම අවශ්‍ය වේ.

එක්සත් ජාතීන්
එක්සත් ජාතීන්ගේ සංවිධානයේ කාර්යාංශ

ලෝක කම්කරු සංවිධානය


Kip Stephen Thorne (Født 1. juni 1940 i Utah i USA) er en amerikansk teoretisk fysiker, kendt for sine produktive bidrag indenfor gravitation og astrofysik. I 2017 modtog han nobelprisen i fysik.

Thorne voksede op i et akademisk miljø og to af hans fire søskende blev også professorer. Han blev interesseret i videnskab, da han var otte år gammel, efter at have deltaget i et foredrag om solsystemet. Thorne var en langvarig ven og kollega af Stephen Hawking og Carl Sagan. Thorne fik sin bachelorgrad fra Caltech (California Institute of Technology) i 1962, og doktorgrad fra Princeton University i 1965. Han skrev sin doktorgradsafhandling med vejledning af professor John Wheeler. Thorne kom tilbage til Caltech som førsteamanuensis i 1967 og han begyndte som professor i teoretisk fysik i 1970.

Hans forskning har hovedsagelig været fokuseret på relativistisk astrofysik og gravitation, med vægt på stjerner, sorte huller og specielt gravitationsbølger og har gjort mange bidrag til kosmologi. Thorne har publiceret mer end 150 artikler i videnskabelige tidsskrifter og har vært medforfatter af flere videnskabelige bøger. Thorne modtog Albert Einstein-medaljen i 2009. Thorne var professor i teoretisk fysik ved Caltech frem til 2009 og en af verdens ledende eksperter på astrofysiske implikationer af Albert Einsteins generelle relativitetsteori. Thorne blev gift første gang i 1960, og de fik to barn før de blev skilt i 1977. Thorne og hans anden kone, Carolee Joyce Winstein, professor i fysioterapi ved USC, blev gift i 1984.

Eksterne henvisninger

 Home Page
 Crunch Time
 Founding Fathers of Relativity

Fysikere fra USA

Kip Thorne